Sentences with phrase «media wall installations»

Filling the bulk of the booth's real estate in dramatic fashion were a series of large - scale clusters from the Bay Area icon, deftly composing the mixed - media wall installations synonymous with his gallery work.

Come hell or high water, this time it's gonna be different..., installation view, 0 to 60: The Experience of Time in Contemporary Art, NC Museum of Art, Raleigh, NC, 2013, 8 feet 10 inches x 41 1/2 feet, mixed media wall installation

Not exact matches

Opening: Sam Moyer, «More Weight» at Rachel Uffner Gallery For her third solo show at the gallery, Sam Moyer will present a monumental installation involving a giant slab of marble and mixed media wall works incorporating dyed fabric on wood, media that comprised her previous show last April.

Their paintings, drawings, sculpture, mixed - media installations, and photography, were densely displayed in every room, filling all the walls throughout her home.

Lee works in multiple media such as graphite and colored pencil drawings, tracing, embroidery, collecting, wall installations.

Video and sound installation with two projections onto two amorphous screens hanging horizontally from the ceiling, single and double beds with pillows and covers, four projectors, two moving mirrors, four media players, audio system, black sprinkler net, curtain, carpet, wall paint, neon, 8:11 min / 8:11 min / 7:03 min / 6:19 min.

While the Japanese artist is best known for orchestrating digital LED counters into richly varied arrangements — strewn across the floor, installed in geometric patterns on walls, even placed on little robotic cars — the works in his recent installation «Totality of Life» span a wider range of media and incorporate a certain humanist dimension that his earlier installations lacked.

All were unique and distinctly reflecting the wide variety of artistic approaches of the 21stcentury from paintings on canvas & board (Kawaguchi, Sudran, & Dorsey) to the mixed media work of Mielenhausen & Dworin, the installation by Kubo that filled gallery walls, to the photographs of Moody, Smith and Gaynor and the colored pencil drawings of Borkow.

INHWAN OH, Things of Friendship — DD / IO, 2000, mixed - media installation, dimensions variable, c - prints on wall: 115.6 × 77 cm each.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greaWall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Other exhibition highlights on view in October include Little Black Dress, curated by SCAD trustee and Vogue contributing editor André Leon Talley; Addio del Passato, presenting photographs, sculpture and film by Yinka Shonibare MBE; Stretching the Limits, a group exhibition by fiber - based media artists; Reveal the secrets that you seek, featuring installations by Bharti Kher; and Figures, four large - scale wall hangings by renowned American sculptor Lynda Benglis.

Using a range of media, including installation, wall sculptures, paintings and works on paper, the show explores the formal and psychological aspects of symmetry, distortion, inside and outside.

For the 2003 Venice Biennale, Wilson created a mixed - media installation of many parts — focusing on Africans in Venice and issues and representations of blacks and whites — which included a suite of black glass sculptures; a black - and - white tiled room, with wall graffiti culled from texts of African - American slave narratives; and a video installation of «Othello,» screened backwards.

For No borders in a wok that can't be crossed, Marten has created a group of works which interweave the diversity of her work in terms of media — from sculptures to wall pieces and floor works — in a comprehensive installation including many new works created specifically for the CCS Bard exhibition.

Her wall installations, comics, photography, and mixed media works on paper often take historical and mythic texts as inspiration and points of departure.

Displayed at different gallery branches, Man Fung Yi's brass replicas of personal garments and William Tsang's rather straightforward installation, in which anonymous photographers in a mixed - media relief are spying on a nude woman, depicted in charcoal on paper on an opposite wall, contemplate voyeurism and the boundary between self and other.

4th Floor to Mildness, 2016; video and sound installation with two projections onto two amorphous screens hanging horizontally from the ceiling, single and double beds with pillows and covers, four projectors, two moving mirrors, four media players, audio system, black sprinkler net, curtain, carpet, wall paint, neon; 8:11 / 8:11 / 7:03 / 6:19 mins.

Duende Diagram, multi media installation with neon, analog speakers, plexiglas, vinyl wall letters, 12 feet by 9 feet, Mana Contemporary, New Jersey, 2015

Like the microphones in his earlier sculptural work, his current wall - mounted installations seek to translate and communicate, interweaving Old and New World messages through different media and new localities.

Other featured artists include Anita Arliss, whose mixed - media canvases are included in the permanent art installations at Hartsfield - Jackson Atlanta International Airport; Bethany Collins, who recently completed a residency at the Studio Museum in Harlem; and Justin Rabideau, who salvages wood from new construction sites and houses on the verge of collapse to create scaled pieces — from very tiny wall pieces to very large installations and large - scale sculptures — for his brightly - colored «Shim» series.

Using a range of media, including installation, wall sculptures, paintings and works...

Using an assortment of mixed media — cut paper, graphite, gouache and wall painting — this installation transforms the aforementioned texts into visual patterned abstractions.

The most dynamic, immediate work, though, is that of Julie Born - Schwartz, whose mixed media installation «I had an expectation that it would fade» creeps off the wall and across the space, its disembodied arm taking agency as it claws out of nothingness.

In Media Res is José Parlá's second solo show at Bryce Wolkowitz Gallery featuring new paintings and sculptures as well as a large - scale mural installation covering parts of the gallery walls.

«Short Stories» — Installation, A mixed media wall piece comprising 41 individual, hanging assemblages to be hung at the Frazier Rehab Hospital, Louisville.

The Help examines the roles of the artist, the muse and the «help,» mixing found objects with abstract forms; Incidents of Travel in Yucatan is a mixed - media installation including a wall of pedestals, autonomous sculptures and video; and the Sunset Series comprises 31 photographs of a single source image, a photograph of a sunset.

Using an assortment of mixed media — cut paper, graphite, gouache and wall painting, Natasha Bowdoin presents a site - specific sculptural installation along with recent two - dimensional works.

Working across a number of media including digital print, wall drawing, video, sculpture and installation, Mark Titchner's practice explores systems of belief, both secular and spiritual, often focusing on the marginalized, discredited or forgotten ideologies and objects we place our faith in.

This major traveling exhibition originated at The Phillips Collection in Washington, D.C., which also «organized an installation of Scully «s early paintings, pastels, watercolors, and photographs to place the large - scale Wall of Light paintings in a larger context and demonstrate Scully «s great proficiency in varied media.»

Her wall installations, comics, charcoal drawings, and mixed media works on paper often take historical and mythic texts as inspiration and points of departure to complicate received ideas of iconic female forms.

His installation specifications entailed taking «any magazine or published media and taping it page by page to the wall in regular formation cover side facing out with any kind of adhesive tape.»

Eddie Edwards Galaxy Ecosystem Animated Curtain Wall currents new media 2018 new media installation

Spanning several media, the show also includes Wangechi's large - scale collages, sketchbook drawings exhibited for the first time, a site - specific wall drawing, and sculptural installations.

A series of soft assemblage sculptural objects on the walls and floor fill the front gallery, utilizing a broad platform of techniques that include digital media, painting, installation art, sculpture and color theory — as tools to tackle ideas of cultural and economic exclusion and privilege.

Anna Masters is a mixed - media artist whose practice incorporates wall - based pieces, three - dimensional works and site - specific installations.

Working through a variety of media including film, sculpture, installation, photography and wall painting, Faldbakken deliberately transforms acts of destruction into -LSB-.....]

Working in a range of media and formats, from works on paper and canvas to large - scale wall installations Walker is particularly concerned with social and political issues with particular reference to history and cultural differences in contemporary life.

Taking it all in — painting, video, an installation, drawings, a wall - bound mixed media work involving light bulbs and wainscoting, and set of mystical - minimalist sculptures titled Magic Sticks — was like spending time in an incredibly diverse neighborhood where it turns out everyone is family.

The installation, Le Magasin Monumental, is composed of mixed - media pieces, «reliefs au mur» constructed out of discarded materials (wire, weathered wood and stories) and installed on the wall among circles painted in pale, pastel colours.

Ranging in scale from three inches to nearly 40 feet, the exhibit features mixed - media installations in a presentation of approximately 50 unique objects, dating from 1796 to the present, in particular with the inclusion of large works by four contemporary women artists: Kara Walker, with her panoramic wall murals, Camille Utterback via an interactive digital installation that reacts to visitors» movements and shadows, Kristi Malakoff's life - size cutouts of children dancing around a Maypole, and Kumi Yamashita's intricate, shadowy installations.

Below: Some Information on Boston School Desegregation (2004), mixed media installation with furniture, books, two - channel video, sound, wall text, included in «Through the Gates: Brown vs. the Board of Education,» California African American Museum, Los Angeles, 2004.

The exhibit is a site - specific installation of recent mixed - media wall sculptures and large mask «portraits» created by Jones.

Working in a variety of media from wall painting, drawing, photography and video to site - specific installations, sculpture and landwork, several artists interact with the surrounding provencal landscape.

Media Replication Services and the installation at the Museum are components of Triple Canopy's contribution to the Whitney Biennial, an issue of its magazine also titled Pointing Machines, which continues the reproduction and circulation of the displayed objects beyond the museum's walls, and includes essays, artist projects, discussions, and performances to be published and presented online and IRL in the next year.

At the same location, «Immagini Sensibili» (Sensible Images) is the retrospective of Milan - based Studio Azzurro, one of the few Italian artist collectives to have operated consistently with video, cinema, new media, hi - tech and immersive installations — touch screens and liquid video walls — since its founding in 1982.

Mixed media installation Parking (Service)(2013), for instance, features a pair of pristine stadium seats installed on the wall that nonetheless communicate non-functionality.

His installations mix imagery and media such as painting, fiberglass relief sculpture, wall - size flowcharts, and digitally generated wallpaper.

A few elements I've evinced from Smith's past exhibitions and around the city (including his painted - directly - on - the - wall installation at Deitch in Long Island City): gestural subject matter (fish, leaves, his name), seriality (in canvas size, subject matter, and hanging — like his 2011 show at Luhring Augustine featured panel grids), synthesized flatness and depth (the mixed - media compositions in his 2009 show Currents resembled large - scale flatbed scans, while neighboring canvases maintained every brushy, gloopy instance of Smith's hand).

Universal Collection: A Mark Dion Project, 2016, Mixed - media site - specific installation Painting on top right wall: Laura Battle, How long is your past, how far is your future, 2015 oil and mixed media on canvas Courtesy of the artist

The performance and installation art of Paul Outlaw and partner Jennifer Catron has been recognized by Art in America, the Wall Street Journal, TIME, the New York Times, Hyperallergic, Vogue, Flavorwire and many other national media venues.